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Typical Recording Installations — Humphrey 171
to go away on location, and if we don't have the paper shortly, we won't get it. Is that satisfactory to Mr. Woodward?
Dr. E. Cook: While the author of the paper was going through his work I was considerably perturbed by the expense of such a layout. It looks terrific, and I think the only way in which it could be justified would be by the sound pressures of the room. I wonder if the author could tell me what the sound pressure is and how necessary this tremendous expenditure is to the producer and the listening public.
Mr. Humphrey: 1 am not prepared to go into a discussion of acoustical treatment or sound proofing. I am sorry that I have no data on the sound pressure in dynes per centimeter squared at the microphone. It is generally accented and fairly well known that if, for example, you are scoring with an orchestra of about thirty instruments, you must have a fairly large studio. However, it is usually the picture requirements which determine the minimum size of the stage. Producers have experimented with different degrees of acoustical treatment. Some studios are quite dead while others will be found to be fairly live. Acceptable results seem to be obtainable on either.
Dr. E. Cook: I mean sound-proofing and not sound-deadening; the transmission from one studio to the next.
Mr. Humphrey: I do not know how far you can cut down on sound-proofing. I do not think any thing is 100% sound-proof. It is a compromise as to how much expense a producer wishes to go to in order to insure against extraneous noises getting into the studio. There are some stages which are not treated for sound proofing at all. In such cases they have to stop traffic outside the door while recording or else the recording work is done at night when there is less interference from outside noises. On one lot in the East when they are recording in one studio it is necessary to stop work in all the other studios because of the noises conducted through the building from one studio to the others.
Mr. E. Richardson: Perhaps somewhat in sound we are making the same mistake made for many years in other things — working hard for something and then ruining it for the public. I have told the director of one or two big companies here the same thing. I think some energy might be spent by some of the large producing companies in preparing matter for architects who will build theatres. They can't obviate errors of the past, but they can